"(sometimes made of mohair), thin ties, button-down collar shirts, wool or cashmere jumpers (crewneck or V-neck), Chelsea or Beatle boots, loafers, Clarks desert boots, bowling shoes, and hairstyles that imitated the look of French ""Nouvelle Vague"" film actors. A few male mods went against gender norms by using eye shadow, eye-pencil or even lipstick. Mods chose scooters over motorbikes partly because they were a symbol of Italian style and because their body panels concealed moving parts and made them less likely to stain clothes with oil or road dust. Many mods wore military parkas while driving scooters in order to"
"Mods and rockers Mods and rockers were two conflicting British youth subcultures of the early/mid 1960s to early 1970s. Media coverage of mods and rockers fighting in 1964 sparked a moral panic about British youth, and the two groups became widely perceived as violent, unruly troublemakers. The rocker subculture was centred on motorcycling, and their appearance reflected that. Rockers generally wore protective clothing such as black leather jackets and motorcycle boots (although they sometimes wore brothel creeper shoes). The style was heavily influenced by Marlon Brando in ""The Wild One"". The common rocker hairstyle was a pompadour, while their music"
"night, and so having scooters allowed mods to stay out all night at dance clubs. To keep their expensive suits clean and keep warm while riding, mods often wore long army parkas. For teens with low-end jobs, scooters were cheaper than cars, and they could be bought on a payment plan through newly available hire purchase plans. After a law was passed requiring at least one mirror be attached to every motorcycle, mods were known to add four, ten, or as many as 30 mirrors to their scooters. The cover of The Who's album ""Quadrophenia"", which includes themes related to"
"a ""skelly"". Lambrettas were cutdown to the bare frame, and the unibody (monocoque)-design Vespas had their body panels slimmed down or reshaped. After the seaside resort brawls, the media began to associate Italian scooters with violent mods. The media described groups of mods riding scooters together as a ""menacing symbol of group solidarity"" that was ""converted into a weapon"". With events like the 6 November 1966, ""scooter charge"" on Buckingham Palace, the scooter, along with the mods' short hair and suits, began to be seen as a symbol of subversion. Stuart Hall and Tony Jefferson argue that compared to other"
"on the left side and plastered down on the forehead over the left eye. Peaked caps were also worn tilted to the left to display the fringe. The scuttlers' girlfriends also had a distinctive style of dress consisting of clogs, shawl, and a vertically striped skirt. Scuttling gangs were territorial fighting gangs, as reflected in their names; the Bengal Tigers came from the cluster of streets and courts off Bengal Street in Ancoats. Most gangs took their names from a local thoroughfare, such as Holland Street, Miles Platting, or Hope Street, Salford. Gang members fought with a variety of weapons,"
"suits that were topped by anoraks. They rode on scooters, usually Vespas or Lambrettas. Mod fashion was often described as the City Gent look. The young men incorporated striped boating blazers and bold prints into their wardrobe. Shirts were slim, with a necessary button down collar accompanied by slim fitted pants. Levi's were the only type of jeans worn by Modernists. In the USSR during the mid to late 1960s, Mods and Hippies were nicknamed Hairies for their mop top hair. As with the earlier Stilyagi in the 1950s, young Russian men who dressed this way were ridiculed in the"
"Mod (subculture) Mod is a subculture that began in London in 1958 and spread throughout Great Britain and elsewhere, eventually influencing fashions and trends in other countries, and continues today on a smaller scale. Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men in the late 1950s who were termed ""modernists"" because they listened to modern jazz. Significant elements of the mod subculture include fashion (often tailor-made suits); music (including soul, ska, and R&B); and motor scooters (usually Lambretta or Vespa). The original mod scene was associated with amphetamine-fuelled all-night"
"soon found they craved a career and life outside the home. They wanted the same choices, freedoms, and opportunities that were offered to men. During the mid 60s, Mod girls wore very very short miniskirts, tall, brightly colored go-go boots, monochromatic geometric print patterns such as houndstooth, and tight fitted, sleeveless tunics. Flared trousers and bell bottoms appeared in 1964 as an alternative to capri pants, and led the way to the hippie period introduced in the 1960s. Bell bottoms were usually worn with chiffon blouses, polo-necked ribbed sweaters or tops that bared the midriff. These were made in a"
"is more specifically, ""one who attends scooter rallies and accumulates event patches on a garment of some kind"". The garment is conventionally a flight jacket, but can be any of several other types of jacket, a mechanic's, a motorcyclist's, or even a parka. According to Kayleen Hazlehurst, the scooterboy with anorak, accessory-covered scooter and industrial work boots was a late-1960s/early-1970s halfway house between the mods and the skinheads. Scooterboy Gaz Kishere suggests a less reductive view of this is that scooter boys emerged as a break away from a strongly 'new mod' conformity of the late 70's mod revival which"
"most of the people in the Swinging London scene to be ""soft mods"" or ""peacock mods,"" as styles, there, became increasingly extravagant, often featuring highly ruffled, brocaded, or laced fabrics in Day-Glo colours. Many of the hard mods lived in the same economically depressed areas of South London as West Indian immigrants, so these mods favored a different kind of attire, that emulated the rude boy look of Trilby hats and too-short trousers. These ""aspiring 'white negros listened to Jamaican ska and mingled with black rude boys at West Indian nightclubs like Ram Jam, A-Train and Sloopy's. Hebdige claims that"
"they were not congregating in cinemas, public swimming pools, or formerly Communist neighborhood pubs, they liked to hike and discuss politics. There are reports of die Meuten in Dresden and other Saxon towns for certain, but the records of the activity is incredibly scarce. The group wore motley clothes, with the males wearing plaid shirts, white socks and Lederhosen in the summer, and slalom shirts and ski pants in the winter. Females wore long blue skirts of the traditional youth movement. Red kerchiefs were used as pro-left sympathies were also seen in the group. The group had Communist roots and"
"Mods are two great examples of the impact of youth culture on society. The flappers were young women, confident about a prosperous future after World War I, and they became the symbol of effervescence. This liveliness was seen in her new attitude in life in which she openly drank, smoked, and, in some cases, socialized with gangster-type men. The fashionable dress at the time also reflected the flapper's new lifestyle. Hems were raised, waists dropped, and hair was cut into bobs. This not only created a look that was dramatically different from the corseted, structured dresses of previous generations, but"
"and social troubles. They were a group of kids that stemmed from a group called the modernists. The Mods were young men and women who came from all classes, and they believed that their fashion choices ""gave them entrée everywhere,"" and their fashion choices empowered them. The women's fashions were short and reflected an ideal, youthful body unforgiving to women with curves. They also cut their hair short, possibly a ""homage to the flappers of the 1920s."" The Mod style and embrace of modern technology spread from the UK overseas to America as well as other countries, proving it to"
"emerged from the Mod subculture. It was not until 1964, when the Modernists were truly recognized by the public, that women really were accepted in the group. Women had short, clean haircuts and often dressed in similar styles to the male Mods. The Mods' lifestyle and musical tastes were the exact opposite of their rival group, known as the Rockers. The rockers liked 1950s rock-and roll, wore black leather jackets, greased, pompadour hairstyles, and rode motorbikes. The look of the Mods was classy. They mimicked the clothing and hairstyles of high fashion designers in France and Italy, opting for tailored"
"The Lambrettas The Lambrettas are an English mod revival band, first active in the late 1970s and early 1980s. Named after the iconic Italian Lambretta scooter brand popular among Mods, the band was formed in Lewes. Their original line-up consisted of Jez Bird (singer/guitarist), Doug Sanders (guitarist/vocalist), Mark Ellis (bassist) and Paul Wincer (drummer). Their biggest hit was in 1980, with a cover version of the 1950s Leiber and Stoller song, ""Poison Ivy"", which reached #7 in the UK Singles Chart. They scored a #12 hit with the follow-up, ""Da-a-a-nce"". In the same year, they released the album ""Beat Boys"
"certain film actors, and Carnaby Street clothing merchants. These youths became known as mods, a youth subculture noted for its consumerism and devotion to fashion, music and scooters. Working class mods chose practical clothing styles that suited their lifestyle and employment circumstances: work boots or army boots, straight-leg jeans or Sta-Prest trousers, button-down shirts and braces. When possible, these working class mods spent their money on suits and other sharp outfits to wear at dancehalls, where they enjoyed soul, ska, bluebeat and rocksteady music. Around 1966, a schism developed between the ""peacock mods"" (also known as ""smooth mods""), who were"
"they often sold these to young people in London. Starting around 1960, mods embraced the off-beat, Jamaican ska music of artists such as the Skatalites, Owen Gray, Derrick Morgan and Prince Buster on record labels such as Melodisc, Starlite and Bluebeat. The original mods gathered at all-night clubs such as The Flamingo and The Marquee in London to hear the latest records and show off their dance moves. As the mod subculture spread across the United Kingdom, other clubs became popular, including Twisted Wheel Club in Manchester. The British R&B/rock bands The Rolling Stones, The Yardbirds and The Kinks all"
"motorcycle. In the late 1940s a new design was introduced - the 613. It was nicknamed ""the One Star"" because it had a star on each shoulder epaulette. In the early 1950s another version of the jacket was introduced - the 618. The 618 had no stars on the shoulder epaulettes. Stores that carried the jackets often had problems with people stealing the stars of the 613 so the 618 became more commercially viable. Marlon Brando wore a 618 in the movie The Wild One (1953), the stars on his jacket were not original but added to the jacket. There"
"row houses of their upbringing"". Mods customised their scooters by painting them in ""two-tone and candyflake and overaccessorized [them] with luggage racks, crash bars, and scores of mirrors and fog lights"". Some mods added four, ten, or as many as 30 mirrors to their scooters. They often put their names on the small windscreen. They sometimes took their engine side panels and front bumpers to electroplating shops to get them covered in highly reflective chrome. Hard mods (who later evolved into the skinheads) began riding scooters more for practical reasons. Their scooters were either unmodified or cutdown, which was nicknamed"
"the ones he made at AIP. The Mini-Skirt Mob The Mini-Skirt Mob is a 1968 outlaw biker film about an all-female motorcycle gang. The film was directed by Maury Dexter, and stars Diane McBain, Jeremy Slate, Sherry Jackson, Patty McCormack, Harry Dean Stanton and Sandra Marshall. Jilted by boyfriend Jeff Logan, Shayne (the leader of an all-female motorcycle gang) decides to torment Jeff and his new bride, Connie. The harassment backfires when Shayne's sister Edie is accidentally killed by a Molotov cocktail and when Shayne herself ends up hanging by her fingernails off a cliff. Maury Dexter says the film"
"law and order. Mod (subculture) Mod is a subculture that began in London in 1958 and spread throughout Great Britain and elsewhere, eventually influencing fashions and trends in other countries, and continues today on a smaller scale. Focused on music and fashion, the subculture has its roots in a small group of stylish London-based young men in the late 1950s who were termed ""modernists"" because they listened to modern jazz. Significant elements of the mod subculture include fashion (often tailor-made suits); music (including soul, ska, and R&B); and motor scooters (usually Lambretta or Vespa). The original mod scene was associated"
"Mod Fuck Explosion Mod Fuck Explosion is a 1994 film by Jon Moritsugu about a young girl named London who is trying to find meaning in the world, or a leather jacket of her very own. Unaccepted by the Mods or the bikers, she tries to find her own path through life. Meanwhile, the Mods and the bikers have a vendetta against each other that is sure to erupt in a smorgasbord of violence. The film was written by Moritsugu and stars his wife Amy Davis as the angst ridden London. Mod Fuck Explosion won ""Best Feature"" at the New"
"common reference for the glamorous image of scooters is ""Roman Holiday"", a 1953 romantic comedy in which Gregory Peck carries Audrey Hepburn around Rome on a Vespa. In the 1960s mod subculture, some members of this British youth cult used motorscooters for transportation, usually Vespas or Lambrettas. Scooters had provided inexpensive transportation for decades before the development of the mod subculture, but the mods stood out in the way that they treated the vehicle as a fashion accessory, expressed through clubs such as the Ace of Herts. Italian scooters were preferred for their cleanlined, curving shapes and gleaming chrome. For"
"United Kingdom, because in the working-class tradition, shopping was usually done by women. They argue that British mods were ""worshipping leisure and money ... scorning the masculine world of hard work and honest labour"" by spending their time listening to music, collecting records, socialising, and dancing at all-night clubs. In early-1960s Britain, the two main youth subcultures were mods and rockers. While mods were seen as ""effeminate, stuck-up, emulating the middle classes, aspiring to a competitive sophistication, snobbish, [and] phony"", rockers were seen as ""hopelessly naive, loutish, [and] scruffy"", emulating the motorcycle gang members in the film ""The Wild One"","
"and affordable form of transportation for 1960s teens, and in the early 1970s, public transport stopped relatively early in the night. For teens with low-paying jobs, scooters were cheaper and easier to park than cars, and they could be bought through newly-available hire purchase plans. Mods also treated scooters as a fashion accessory. Italian scooters were preferred due to their clean-lined, curving shapes and gleaming chrome, with sale driven by close associations between dealerships and clubs, such as the Ace of Herts. For young mods, Italian scooters were the ""embodiment of continental style and a way to escape the working-class"
"look from Pierre Cardin. But their look did evolve from that. I was involved in making other funny collars for them at the time, and made the Capes for ‘Help’’ ‘The Mod look was very functional in a way. The bum-freezer jacket with it’s double vents facilitated sitting on a scooter. It was derived from the British hunting jacket, of course’ ‘I was asked to design a look for The Kinks and decided that a Regency look would go with their haircuts, so I made those high collared jackets and put them with frilly-fronted shirts. I’m still owed £1,500 for"
"hair was a liability in industrial jobs and street fights). Mods and ex-mods were also part of the early northern soul scene, a subculture based on obscure 1960s and 1970s American soul records. Some mods evolved into, or merged with, subcultures such as individualists, stylists, and scooterboys. A mod revival started in the late 1970s in the United Kingdom, with thousands of mod revivalists attending scooter rallies in locations such as Scarborough and the Isle of Wight. This revival was partly inspired by the 1979 film ""Quadrophenia"" and by mod-influenced bands such as The Jam, Secret Affair, Purple Hearts, The"
"Scooterboy A scooterboy (or scooter boy) is one of several scooter-related subcultures of the 1960s and later decades, alongside rude boys, mods and skinheads. The term is sometimes used as a catch-all designation for any scootering enthusiast who does not fall into the latter three categories. Michael Brake identifies the subculture differently, classifying it as a subgroup of the mods, alongside ""art school mods"", ""mainstream mods"", and ""hard mods"". Scooter boys, according to Brake, had ""Italian motor scooters (a working-class sports car) covered in accessories and anoraks and wide jeans"". According to Colin Shattuck and Eric Peterson, a scooter boy"
"The Mini-Skirt Mob The Mini-Skirt Mob is a 1968 outlaw biker film about an all-female motorcycle gang. The film was directed by Maury Dexter, and stars Diane McBain, Jeremy Slate, Sherry Jackson, Patty McCormack, Harry Dean Stanton and Sandra Marshall. Jilted by boyfriend Jeff Logan, Shayne (the leader of an all-female motorcycle gang) decides to torment Jeff and his new bride, Connie. The harassment backfires when Shayne's sister Edie is accidentally killed by a Molotov cocktail and when Shayne herself ends up hanging by her fingernails off a cliff. Maury Dexter says the film was the most successful of all"
"these uniforms provided a functional style, some modest women in society viewed these outfits as scandalous and racy. The shorter skirts combined with the shorter and tighter sweaters were viewed by some as ""improper."" Theses uniforms are similar to the current uniforms except slouch socks especially Wigwam slouch socks were very popular to wear. Also Keds champion sneakers were worn by many cheerleaders. A typical school cheerleading uniform from 1985 does not look much different than a uniform today. The favored top in this period was a waist-length button-down sleeveless vest, worn with or without a turtleneck layer underneath. The"
"silver platform boots. ""Sweet"" has the most artistic personality, and usually wears pink. Her debut edition had a bright red waist length wig, and a yellow wig with pigtails. ""Hip"" likes music, and has a medium complexion. She had a medium-length, side-parted green wig and a pink wig with pigtails, and she wore bell-bottoms/capris and a reversible T-Shirt. ""Cool"" is the sporty girl. She has the darkest skin of the Dolls in the line. She had a long straight orange wig with bangs and a purple wig tied in low pigtails. ""Cool"" wore an ensemble of a T-shirt and cargos"
"The Mods The Mods were a punk rock band from Toronto during the first wave of late 1970s punk. Formed in 1978 with members Greg Triner (vocals), Scott Marks (guitar), Mark Dixon (bass) and David Quinton Steinberg (drums). The Mods were obviously influenced by The Jam and had a similar look and sound which contrasted with the black leather, T-shirts and tight jeans look of the other Toronto bands of the era. The band played heavily in the Toronto area as well as further afield than most other Toronto bands of the era to New York, Philadelphia, Cleveland, Chicago and"
"Adamant rarely addressed by her first name) was Adamant's staunch friend and supporter. These were characteristics that Adamant, who was coming to terms with a very different world to that which he had left over sixty years earlier, did not always appreciate. Miss Jones worked in a discothèque, which was subject to a vicious protection racket, and lived in a flat which, among other things, displayed a large letter ""G"" above her single bed. Her clothes typified those of ""Swinging London"" - a John Lennon-style cap, striped tops, mini-skirts – and she rode around on a Vespa motor scooter. This"